Practice One

Introduction

My instincts are to use a narrative approach to create my embroidery work, however I have challenged this and specifically developed new techniques involving sequencing and repetition to produce different styles and results.   This has had variable success but most significantly has helped me reflect upon ways I can incorporate mixed methods to enhance the narrative approach that I prefer.  

I use my surroundings as inspiration alongside researching artists’ methods that are like my own. For example: Tracey Emin, Tilleke Schwarz I have also on undertaken technical research from practitioners who use ink and watercolour. I can blend these skills as an embroidery artist.

Research

‘’ for a lot of young women today, when they see your work for the first time, it’s the first time they see themselves represented in that context.’’ (Forthnum, 2007 :61)

‘’…but representing the person who has an option about the world which we are all entitled to whether it’s wrong or right…’’ (Emin, 2017: online)

I have experimented with ways to translate innermost thoughts through textiles. Using Tracey Emin’s work as inspiration. The works I have developed have a dual purpose in that they to express my point of view and personal experience but also raise awareness of the difficulties within mental health support systems. 

Figure 1: Something Terribly Wrong by Tracey Emin, (1997)

I was aware of using my own personal unhappiness and bringing visual message of my own personal struggle, may not be relating to the audience, therefore, I researched Tilleke Schwarz work to address this limitation.

 Figure 2: Author’s own (2016)

‘’…I include anything that moves, amazes or intrigues me. Daily life, mass media, traditional samplers and cats are major sources of inspiration…

…Every work contains narrative elements. Not really complete stories, with a beginning, a storyline, and an end. On the contrary, the viewer is invited to decipher connections or to create them…’’ (Schwarz, n.d : online )

The idea of letting the audience create their own narrative meanings within my work gives me opportunities to create less obvious pieces. This is in stark contrast to the original inspiration for this body of work. Emin arguably creates obvious work.  Taking a creative risk to produce work that is more abstract consequently pushes me out of my working comfort zone. It has meant different successes and challenges have been met.

Figure 3: Artist research for drawing cats by Endre Penovác (2011): online

In my research, I have found that having cats around gives me the same amount of comforts that I would have required from my friends from day in and day out, for I live alone and most of my time I spent working indoors, therefore, I have found cats to be a better companion comparing to dogs. As in, the article mentioned that cat’s offers physical touch and even though it is mainly focusing on children, I too personal requires extra physical touch and hugs.

Penvoac (2011) has inspired me to think about ways to use my embroidery skills to design beddings, such as creating an image of a cat sleeping on your bed. Such as I have considered Jane Norman's bedding designs, as an early stage of idea, I would like to use poly cotton with digital prints of my design on as I can sell it cheaper and mass-produce.  For my idea of marketing, I plan to select out a section of my work and project it onto other products.

For my outward facing projects, I have been asked to exhibit my work at the Fashion and Embroidery show on the 16th - 19th of March, Birmingham.

For this exhibition, I intended to display three pieces of my work from this research, however as the work progressed in scale and I started to produce tangible embroidery pieces I realised I should exhibit my best works only. Therefore, I will be selecting some of my latest best work for this exhibition, as I believe my idea of using commission based line of work will go more nicely with it.

As I was trying to relate more to the audience and use my artworks to explain what mental health is to a new audience, I have become increasingly focussed on the negative impacts of depression and mental health. A shift in mindset allows my work to focus on the bright side that are also within mental health crises. A particular example of where this has worked well is realising what really got me out of bed in the morning was being a pet owner, it was my two cats that gives me a sense of purpose in the morning. I realise this is the case for a wide audience base and therefore found a niche to target my work towards. 

The message that I want to bring out from my work was to keep trying, as I realised myself the moment  that I stopped trying is the moment that my depression had gotten the better of me.

‘’ …depression can be life-threatening because it can make you feel suicidal or simply give up the will to live…’’ (Bailey, 2013 : online)

Figure 4: Research for composition Tilleke Schwarz – Purr Chase 

Reflecting on Schwarz (2008) composition I am reminded that this project could benefit from the use of the Irish embroidery machine, embellisher & Phaff (digital sewing machine). 

Figure 5: Author's own (2017)

The idea within my work are to design cats’ for the reverse side of a duvet cover to give the illusion of a cat peeking out of the sheets. My work will be limited by the flatness of digital print is colour resolution to add depth and texture but making it washable and suitable for function. There is scope to also embed this onto clothing in the future as a motif.

There is further symbols within designing bedding for sufferers of depression.   It can be argued that people do hold optimistic tendencies at the start and end of a day when they are in their beds. In addition cats offer the person a daily opportunity to look after something and have responsibility for it, which in itself can be motivational. 

In conclusion, the key context of my work has shifted from narrative, to abstract and is now blended in between both theories. The methods I have used have changed with the product changes from images to bedding.

I am now using a broader range of disciplines within my work.  Using my experiences from working at Alexander McQueen and Q print and my undergraduate studies I am now in a better position to market within personalised fashion and accessories.  The target audience remains adults who enjoy playfulness and whimsical images. The most significant challenge I have overcome ids to marry difficult adult life circumstances such as health and wellbeing and at the same time create work that is artistic and useful to them as well as offering options for personalisation and mass markets.

List of Figures:

Figure 1: Something Terribly Wrong  Emin, T. (1997). Something Terribly Wrong. [image] Available at: http://www.tate.org.uk/art/artworks/emin-terribly-wrong-p11565 [Accessed 11 Feb. 2017].

Figure 2: Author’s own (2016)  As my attempt of showing the beauty of self-love within this drawing, as growing up as a female, I being called ugly, being told what I should do and should not with my body.

Figure 3: Penovác, E. (2011). Watercolour & Ink Cats. [image] http://penovacendre.com/node/35?titles=off  [Accessed 11 February 2017].

Figure 4: Purr Chase  Schwarz, T. (2008). Purr Chase. [image] Available at: http://www.62group.org.uk/artist/tilleke-schwarz/ [Accessed 11 February 2017].

Figure 5: Author’s own (2016)  The embroidery details within this might take backstage to the digital print in order to have this commercialised for a wide audience and to make it affordable however I could also save personalised embroidery of specific designs for higher market clients:  As for a higher market, I would embroidery onto Egyptian Cotton Linen or 100% cotton fabric, as they can be commission based and one off designs.

References

Bailey, A  (2013) [online] [Accessed 6 April 2017]  http://www.catster.com/lifestyle/cat-behavior-cats-therapy-anxiety-depression-in-kids-children

Fortnum, R (2007) Contemporary British Women Artists in their own words.  Tardis London

Penovác Endre (2016) Image Research [online] [Accessed 6 April 2017]  http://www.boredpanda.com/watercolor-cats-ink-paintings-endre-penovac/

Penovác Endre (2016) Artist Research [online] [Accessed 6 April 2017]  http://penovacendre.com/node/35?titles=off –

Rutherford, M (2016) When People With Depression Function 'Too Well' [online] [Accessed 6 April 2017] https://themighty.com/2016/09/the-difference-between-perfectly-hidden-depression-and-depression/

Saatchi Gallery (2017) Image of Tracey Emin [online] [Accessed  6 April 2017] 

http://www.saatchigallery.com/artists/artpages/tracey_emin_my_bed.htm 

Smith B,L. (1995) Essential Stitches. Surface design journal vol. 20. No1 pp 17-19

TATE  (1997) Terribly Wrong by Tracey Emin [Online] [Accessed 5 April 2017]  http://www.tate.org.uk/art/artworks/emin-terribly-wrong-p1156

The 62 group of Textile Artists (2017) Profile of  Tilleke Schwarz [online] [Accessed 5 April 2017]  http://www.62group.org.uk/artist/tilleke-schwarz/

Woods, K (1971) The Little Prince.  Harvest San Diego.

Bibliography

Barchas, D., Mlynar, P. and Bailey, A. (2017). 5 ways cats are great therapy for anxiety or depression in kids, Catster. [online] http://www.catster.com/lifestyle/cat-behavior-cats-therapy-anxiety-depression-in-kids-children [Accessed 11 April  2017].

De Saint-Exupéry, A. (1943). The Little Prince. 1st ed. France: Reynal & Hitchcock (U.S.), pp.50-53.

Donen, S. and De saint-Exupéry,A. (1974). The little prince. [video] http://sockshare.net/watch/oxqdkzvn-the-little-prince.html [Accessed 11 April2017].

Emin, T. (1997). Something terribly wrong.: http://www.tate.org.uk/art/artworks/emin-terribly-wrong-p11565 [Accessed 11 April 2017].

Fashionembroidery.co.uk. (2017). Fashion & embroidery · 15-18 march 2018 ·NEC, Birmingham. [online] http://www.fashionembroidery.co.uk/birmingham/ [Accessed 11 April 2017].

Gordon, B. (2011). Textiles the whole story Textiles. 1st ed. United kingdom: Thames & Hudson Ltd. pp.200-245.

Hall, A. (2011). Illustration portfolio. 1st ed. Laurence King, pp.13-16 199-200.

Jackson, I (2012). Embroidery print. [image] available at: http://www.luckyjackson.ca/prints-of-embroidery-work/ [Accessed 11 April 2017].

Medina, M. (2014) "Tracey Emin: life made art, art made from life", Arts, vol. 3, no. 1, pp. 54.

Mind.org.uk. (2013). Depression | mind, the mental health charity - help for mental health problems. [online] http://www.mind.org.uk/information-support/types-of-mental-health-problems/depression/#.wo-z_ojyuyi [Accessed 13A pril 2017].

Penovác, E. (2011). Watercolour paintings. [online] http://penovacendre.com/node/35?titles=off [accessed 11 apr. 2017].

Penovác, E. (2017). Watercolor & ink cats. [online] http://penovacendre.com/node/35?titles=off [Accessed 11 apr. 2017].

Saachi Gallery  (2017). Tracey Emin - my bed - contemporary art. [online] http://www.saatchigallery.com/artists/artpages/tracey_emin_my_bed.htm [Accessed 11 April. 2017].

Schwarz, T. (2008). Purr chase. http://www.62group.org.uk/artist/tilleke-schwarz/ [Accessed 11 April. 2017].

Schwarz, T. 1992, "quotes from Tilleke Schwarz", Embroidery, vol. 43, no. 1, pp. 28-29.

The Little Prince. (2015). Directed by M. Osborne [online] available through Netflix [Accessed 19 April 2017]

Self-initiated Project

For this unit, I am developing a self-initiated project around my personal interest: Birds.

Figure 1: Sketchbook drawing.

I have started a series of sketchbook drawings around golden eagle. Developing my colour palette.

I thought about the work that I am aiming to create and where my strengths are; narrative and storytelling pieces. Therefore, I look at related artists and their careers of the work they create. I have chosen to work within textiles to develop my abilities in this area and to enhance techniques I already use.  Once again, this is handcrafted piece that will develop my abilities in multi-head machine stiches and blended with handcraft techniques.

Figure 2: Infanta Series: Go, Elizabeth Tarr

For Tarr’s work is about narrative and storytelling.

‘I tell stories that reflect on the dynamics of relationships: with themes both revealed and hidden. Recent work is inspired by Velazquez' paintings, the mysterious 'Las Meninas' particularly, and images of Infantas. Poetry and landscape also influence my work. I've been working with indigo for over ten years now. I like to draw images out of the dark blue dye on paper or fabric, using bleach. Images are worked on over a period of months: re-dyeing, washing, embellishing with stitch and lead pieces, until the desired 'mood' is achieved.’ Elizabeth Tarr.

Figure 3: Sketchbook drawing.

This is not the original colour of the bird.  Originally, it was brown.  I am working on a sequence of a story. My interests in stories about birds, mixed with memory, Greek mythology and folklore. I would like to create a piece that is my own story that the audience can see within one piece and relate to the story.   Upon feedback, I have learned to adjust the composition and space in my drawing and let my imagination run wild.  I do not wish to copy Tarr’s work but use it as a platform for my own ideas.  This makes the work unique.  Birds are able to fly to places human’s cannot. Birds represent freedom and so I wish to develop these universal symbols to create a narrative of my own.

The bird can tell the audience things that humans could not.. Instead of having the bird individually on its own, I will think about the composition.  Aimed at specific exhibitions. I wish to work alongside this group: http://www.62group.org.uk/artist/elizabeth-tarr-4/

For the next stage, I am going to visual research the story about golden eagles or other birds or even creates my own.

For the market, I am hoping the narrative uses no words just the image.  I am aware that this will be accessible to all ages.  A story is usually aimed at a group, either children or adults.

Daksha’s drawing workshop

27/1/14 I have signed up for Daksha’s drawing workshop.

Daksha Patel has a collection of different types of objects, including natural objects and manmade objects, she explained that the idea is to use imagination to make connections between these objects, unlike museum displays, that create exhibits and group objects together in categories.

I was interested in natural objects, how their value changes over history based on opinions, for example, a rock of crystal, its value is based on size, colours, etc.  If the crystals were common, they wouldn’t be so valuable anymore.

Rockhounding Arkansas is a website that explains how the value of crystals is judged.

RockhoundingAR.com Copyright © 2011.

http://www.rockhoundingar.com/worth.php       

  The display of the collection by Daksha.

I made the connection between a crab shell, a goat’s teeth and manmade wax and feathers, I like the idea of bones and shells that were once a living creature, but their remains could last for thousands of years if kept in good conditions. 

The idea that people would kill in order to collect is like a desire to own an object, simply because it is rare. 

Daksha suggested that maybe it is natural to collect for us, because I told her I collect objects to remember things by.

 

I think this workshop was very helpful in inspiring me to think of ways to relate to my project, I, myself have a collection of different things, and I am planning to put that in my project, because most of my collection are natural objects and these are related to data. It inspired me to think of ways of composing and representing my collections.

Motif Designs

It was difficult for me to select six final motif designs to put onto acetate, because I wanted to put everything that I have ever drawn onto screen. However, I have to be selective. Therefore, I thought of continuing to use Pigeon diagrams as my theme.

I linked my research sources by using The Secret Code by Priya Hemenway (2008) to adopt golden rules to apply to my drawings and as an overlapping idea. Also, for my pigeon drawings I have used Complete British Birds by Paul Sterry (2008). 

I have used artist research to help me understand positive and negative space, particularly Mark Hearld, who is  a printer artist. His works show exactly where the positive and negative space is. 

 

For example, in the picture above there is too much positive space, after seeing Mark Hearld’s work and adopting the way he see things, I have a fuller understanding of where my drawings need to have more ‘blocks’.

 

After using line drawings as a guideline, I filled in the spaces by ‘colouring’ and that’s where the colours would be transferred to the fabric.

This is the final arrangement for screen printing.